野望—陈荣辉个展 + 荒糖——神思远个展

北京市 北京市 朝阳区 三影堂摄影艺术中心查看地图
2020-09-26 10:00 - 2020-11-08 18:00
¥ 50.00元起 现场票待定元 电子票
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荒糖——神思远个展 主办:三影堂+3画廊 艺术家:神思远 展期:2020年9月26日至11月8日 开幕式:2020年9月26日 15:00 地点:三影堂摄影艺术中心 北京市朝阳区草场地155号A 展览前言 神思远的视野范围异于常人,小虫,死鱼,荒野中的废弃雕塑,一只海豹的眼疾,都被他正经八百地拍下来,一一收入囊中。他关心一些不明所以的微小事实,知道动物的尸体从眼睛开始腐烂,了解蓖麻与苍耳两种植物的区别。目之所及,好像都是一些难登大雅之堂的细节,但这些细节构成了他。他抛弃了秩序,仿佛早已经认清秩序并非我们认定的那样,是生活之所必需。他甚至不在乎意义,起码不强烈拥抱,更不去找,这时隐喻反而以一种轻松的姿态找到了他。对他来说,荒唐不是意外,不是需要纠正的错误,因为它不是结果,而是原因。它更像是一种本能,一种认为“这很重要”的倾向,让他不断去挽留一些不体面,对敏感保持忠诚。过于“正确”会让我们对生活失去想象权,把已知的答案,当作是唯一的答案。我们向大家提供了一点有限的混乱,也想分享关于这个世界的另一个版本,在这里,脆弱坚强,卑微神圣,死亡娇艳欲滴,荒唐甜美如蜜。这些都是可能的,只要我们保持荒唐。 把一些荒谬装入容器 他走过六十四道城市 少年变中年 虚荣是少年时佩戴的花 随光悄结成卑鄙 对一个未完成残忍 就是与自己不亲 在左右逢源的9月 空气勾引了一切 连水都危险 救生衣在座椅下 等待自救 需要做点什么认真的事儿 来断定多久以后,算以后 习惯了形式感的人 决定在来月不再进步 语言中的隐喻 对于摄影和喜剧 爱与求 对于抚慰了南方的一场快递 都没有任何不满在偷泣 火车穿过宇宙 在失去审美的时间里 按下快门的绝望 让混沌变胖 治好了眼疾和无逻辑 就拍不出透支的眼神光 没有野心最浪漫 为玫瑰测温,借春光画骨 不锈钢冰,砸进猫的汤体 涂白羽的鸟无力,和失血过多的土地 软刺扎心的乘龙快婿 都被语言的不和谐吞噬 如果诗不许比喻 如果无题被赋予名字 那就让我们一起,把一些荒谬装入容器 当肉掉落灵 当敏感滑向边缘 你会发现 与哪个中年艺术家 做朋友 是你能决定的 神思远 2020.8.24 【关于艺术家】 神思远 现居中国北京的独立创作者,影像、平面、写作是他主要的创作媒介。曾担任《男人装》《芭莎艺术》等多家中国媒体的影像总监。2016年,他完成了从一名时尚摄影师到创作者的转变。同年创办影像自媒体“平面国”,先后出版摄影集《Wild&Girls》、《卑鄙的花》等。他的作品曾在多个海内外美术馆及空间展出。 Love · Nonsense: Jin Shien Solo Exhibiton Organizer: Three Shadows +3 Gallery Artist: Jin Shien Duration: 26th Sep - 8th Nov, 2020 (Closed on Mondays) Opening: 26th Sep, 2020 15:00 Location: Three Shadows Photography Art Centre 155A Caochangdi, Chaoyang District, Beijing Jin Shien has a vision different from others. He takes serious photos of little bugs, dead fish, wasted sculpture in wilderness and a seal`s eye with disease and included all in his lens. He cares about some trivial facts, knowing the corpses of animals decay from their eyes, and telling the difference between the castor-oil plant and the Siberia cocklebur. These minor details seem insignificant, but have formed his knowledge structure. He abandons order regarding it not the necessities of life as we have assumed. He is not even interested in the meaning, at least not in a strong embrace, much less in search of it. In a relaxing and natural course, metaphors can find him. The absurdity is not an accident or a mistake to be corrected, for it is not a result but a cause. It\'s more like an instinct, an inclination of regarding these facts as important, which pushes him to keep some disgrace and be loyal to his own sensitivity. Being \"too right\" might deprive us of the imagination about life, treating the known answer as the only choice. We’d like to offer you a little chaos, to share an alternative version of the world, where the fragile is strong, the inferior is sacred, the death is tender and beautiful while the nonsense is sweet as honey. All is possible as long as we keep the absurdity. Holding some absurdity in a container He has travelled 64 cities. A teenager has become a middle-aged man. Vanity is like a flower worn by a teenager. With time passes by, it has become despicable. A kind of unfinished cruelty is not knowing oneself. In September, when success was possible one way or another, the air attracted the attention of everything. Even the water became dangerous. The life jacket was under the seat, waiting for someone to help himself. Something serious needed to be done, to contemplate how long is the future. The one used to formality decided not to progress in the coming month. Metaphors in the language of photography and comedy, as well as love and supplication in the express that soothed the South are whimpering without discontent The train drives through the universe. In the lost aesthetic time The desperation of pulling the trigger makes the chaos fat, and has cured the eye disease and the illogic. Yet the overdrawn eyesight can’t be captured. No ambition is the best romance, like taking temperature of roses and painting the bones of springtime. The stainless steel is like ice, smashing into the cat\'s soup. A weak bird with white plumage, a land of excessive bleeding, and a son-in-law with a soft thorn in his heart are all consumed by the discord of language. If the poem is not metaphorical, If the Untitled is given a name, let\'s seal some absurdity in a container. When the spirit falls from the flesh, and the sensitivity slides to the edge, you\'ll find making friend with which middle-aged artist is your own decision. Jin Shien 2020.8.24 About Artist Jin Shien As an independent creator living in Beijing, Jin Shien often chooses video, graphic work and writing as major creation media. He was the photo director for For Him Magazine and other media in China. In 2016, he completed his transition from a fashion photographer to a creator. In the same year, he founded the image We Media \"Flatland\", and published albums such as Wild&Girls and Baby Flowers. His works have been exhibited in many museums and spaces at home and abroad. 野望——陈荣辉个展 主办:三影堂+3画廊 艺术家:陈荣辉 策展人 张涵露 展期:2020年9月26日至11月8日 开幕式:2020年9月26日 15:00 地点:三影堂摄影艺术中心 北京市朝阳区草场地155A号 【展览前言】 陈荣辉出生于浙江丽水,他的摄影视界随着他的足迹,从县城来到城市,留连国际大都会,再抵达衰败的地域,完成一次有关野心的周期。这种野心或许与“发展”相连,其巨大而无声,在中国的土地上投下一道阴影;摄影是光的书写,陈荣辉的镜头在这暗影中描刻出一些次要或微小的征状:被污染的河流、被遗弃的故乡、一座又一座游乐园、恢弘的山寨建筑、收缩的城市、野火、难融化的冰、疲惫的青年…… 此次个展“野望”主要展出三个系列作品。《Petrochemical China》拍摄了江浙一带被工业废墟和城市化入侵的乡村地景,对于大多数城市居住者来说这些地方至多是高铁上一晃而过的风景。野心在加速。在《摩登上海&脱缰的世界》中,艺术家将夸张的游乐设施及人造景观和都市青年的居家肖像并列:外部内部、静和动、社会与人,在视觉和观念上上辩证交织,互文见义。 《空城计》系列是陈荣辉创作周期最长、最为投入的作品:连续四年的冬天,他造访冰封的黑土地,记录东北地区如今经济和人口都在萎缩的旧工业城市及仍居住在那里的人。艺术家不止步于一种轻易而就的景观复刻或废墟美学,他通过快手平台认识本地的年轻人,并且与他们一起拍摄大画幅肖像。大部分关于东北的文艺表现专注于其压缩了太多荣耀和伤痛的过去,而陈荣辉将镜头对准当下的人,试探这个地区可能呈现出的未来面貌。 陈荣辉是记者出身,他从《圣诞工厂》这个获奖系列开启一趟旅程,从纪实的新闻摄影迈向通过深挖摄影媒介本体来进行的自主艺术表达。此次展览体现了这一探索进程,也是艺术家2019年赴美深造前的创作的一次阶段性回顾。在超媒介化的今天,摄影如何对信息过载和视觉饱和的现实保持敏感,并同时能够承载现实中不同人和事件相遇时的具体性和复杂性——陈荣辉的思考和创作轨迹提供了一条独到的路径。 【关于艺术家】 陈荣辉,摄影师,现工作生活于上海和纽黑文。他的作品主要关注中国的城市化,探讨个体经验与城市化、工业化中的关系。已经出版了同名图录《陈荣辉》,属于中国当代摄影师合集中的一本。同时陈荣辉曾获得世界新闻摄影大赛,三影堂摄影奖ALPA奖,侯登科纪实摄影奖等众多国内外知名摄影奖项。 【关于策展人】 张涵露是一名写作者、策展人和编辑,于芝加哥艺术学院修毕艺术历史、理论和评论硕士学位。她参与策划的展览包括“展览的噩梦(下):双向剧场”(上海当代艺术博物馆)、“都市折叠”(北京央美术馆)、“偷单车的人”(香港Para Site艺术空间)、“Cosmopolis #1.5: 延展智慧”(成都)和“Cosmopolis#2: 重新思考人类”(巴黎蓬皮杜中心)、“那看见万物的、知道万物的,就是万物”(画廊周北京2020)。文章发表于ARTFORUM、瑞象视点、LEAP、Flash Art及art-agenda等媒体。她是44剧场的成员。 Land of Ambition: Ronghui Chen Solo Exhibition Organizer: Three Shadows +3 Gallery Artist: Ronghui Chen Curator: Hanlu Zhang Duration: 26th Sep - 8th Nov, 2020 Opening: 26th Sep, 2020 15:00 Location: Three Shadows Photography Art Centre 155A Caochangdi, Chaoyang District, Beijing Preface Ronghui Chen was born in Lishui, Zhejiang Province. His photographic vision has followed his footsteps from counties to cities, lingering in metropolises, and reaching decaying regions, and that completes a full circle about certain ambition. This ambition at stake, silent but immense, perhaps relevant to “development”, casts a broad shadow on the land that is called China. Etymologically, photography is the writing with light, and in this shadowy obscurity, Ronghui Chen\'s lens turns to subtle and neglected symptoms of ambition: polluted rivers, abandoned hometowns, one amusement park after another, grandiose shanzhai architectures, shrinking cities, melting ice, wildfire, weary youngsters... The solo exhibition \"Land of Ambition\" mainly presents three series of works by Ronghui Chen. Petrochemical China captures rural landscapes in Jiangsu and Zhejiang invaded by industrial ruins and urbanization. For most city dwellers, those places are just scenery passing in a flash on high-speed trains. Ambition is accelerating. In the project Modern Shanghai & Runaway World, the artist juxtaposes flamboyant amusement facilities and man-made spectacles with indoor portraits of urban youths. Various visual and conceptual perspectives, exteriority and interiority still and moving, social and human, intercontextualize within the frames. Freezing Land is by far the artist’s most devoted project. For four consecutive winters, Chen visited the frozen Northeast to document the old industrial cities where the economy and population are decreasing and the people still living there. The artist is not drawn to spectacle-remaking or aesthetics of ruins, approaches commonly found in works with similar subject matter. Instead, he contacts local youngsters through Kwai, a live streaming platform popular in the region, and invites them to take large format portraits. Through portraiture-making, the artist attempts to take a glimpse of what future might look like in a region where too many glories and trauma are hastily packed in the past. Ronghui Chen was a journalist by training. He embarked on a creative journey since the award-winning photojournalist series Christmas Factory, moving from documentary photography to autonomous artistic expression by digging deep into ontological aspects of the photographic medium. This exhibition manifests this exploratory process and is a short term retrospective of the artist\'s practice before he went pursue further studies in the US in 2019. In today\'s hyper-mediated world, how photography can remain sensitive to a reality characterized by information overload and visual saturation, while also being able to address the specificities and complexities of real-life encounters with people and events, Ronghui Chen\'s thinking process and creative trajectory have provided a unique and insightful approach. About Artist Ronghui Chen Yale MFA Photography 2021 Ronghui Chen is a Chinese photographer and storyteller based in Shanghai/ New haven, whose work focuses on China’s urbanization. Known for his interest in the issues arising from the position of the individual within the urbanization and industrialization of China, Chen published his first collection of photographs named Chen Ronghui, now part of China’s Contemporary Photography Catalog. He was won a number of awards including World Press Photo; BarTur Photo Award; Three Shadows Photography Award & AlPA special prize and Hou Dengke Documentary Photography Award. About Curator Hanlu Zhang is a writer, curator, and editor. She received her MA in Art History, Theory and Criticism from the School of the Art Institute of Chicago. She has curated or co-curated “Through the Parlour” at No Longer Empty (New York), “Nightmare of Exhibitions II: Two-way Theater” at Power Station of Art (Shanghai), “Rebel Cities” at Yang Art Museum (Beijing), “Bicycle Thieves” at Para Site (Hong Kong), “Those who see and know all, are all and can be all.” at Gallery Weekend Beijing, \"Cosmopolis #1.5: Enlarged Intelligence” and “Cosmopolis#2: rethinking the human” with Centre Pompidou (Chengdu & Paris). She writes for ARTFORUM, LEAP, Flash Art, and art-agenda. Hanlu is a member of Theater 44. 购票须知 退票/换票规则 票品为有价证券,非普通商品,其背后承载的文化服务具有时效性,稀缺性等特征,不支持退换。 儿童购票 1.2米以上凭成人票入场,1.2米以下谢绝入场 实名购票规则 一张门票对应一个证件;证件支持:身份证 活动须知 活动时长 以现场为准 入场时间 请于开始前约30分钟入场 禁止携带物品 由于安保和版权的原因,大多数演出、展览及比赛场所禁止携带食品、饮料、专业摄录设备、打火机等物品,请您注意现场工作人员和广播的提示,予以配合。 寄存说明 无寄存处,请自行保管携带物品,谨防贵重物品丢失。
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